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Poster: Cliff Hucker Date: May 10, 2010 5:00am
Forum: GratefulDead Subject: TDIH (1972) - "the cocaine was far too good"

"Amsterdam, where the Concertgebouw was a jewel of a theater, the cocaine was far too good..." Dennis McNally


05/10/72 Concertgebouw - Amsterdam, NL

I ) Bertha, Me & My Uncle, Mr. Charlie, China Cat Sunflower-> I Know You Rider, Black Throated Wind, Loser, Next Time You See Me, El Paso, He's Gone, Chinatown Shuffle, Playing in the Band, Big Railroad Blues, Jack Straw, Tennessee Jed, Big Boss Man, Greatest Story Ever Told, Casey Jones

II ) Truckin'-> Drums-> The Other One-> Me And Bobby McGee-> The Other One-> Wharf Rat, Beat It On Down The Line, Two Souls In Communion, Ramble On Rose, Sing Me Back Home, Sugar Magnolia-> Not Fade Away-> Goin' Down The Road Feelin' Bad-> Not Fade Away


Best Source: SBD .kaplan.1582.sbeok.shnf
Sound Quality: A/A+
Score: 98 pts

(The MR sourced Greg Hamilton/kaplan.1582.sbeok.shnf is virtually perfect. The sound quality of this recording is amazing. The mix/separation is particularly brilliant.)


Comments: Bertha fades in.

Official Release: He's Gone is on Europe '72.


Notes: Perhaps overshadowed by the monumental performances preceeding and following it, this treasure might be the most overlooked gem of the tour. This vastly underrated show is extremely well played from start to finish. Virtually every song is a standout performance. The sound quality is superb and the mix lively. The separation is excellent making it easy to hear how well both Keith and Bobby are playing. While the highlights include a terrific Bertha opener, an excellent Truckin' and what is possibly the best early performance of He's Gone, the centerpiece of the show is another jazzy and extraordinarily jammed out Other One. This one is as fine as the performances of the song in Frankfurt and Paris. It's highly exploratory, visiting numerous themes over its more than 35 minutes. Erupting out of Drums, from the opening notes this performance of The Other One percolates like a pot of fine Blue Mountain. Extremely jazzy in nature, there are several extraordinary movements. A particularly brilliant passage starts at 4:45, after the jam slows down it gets real smokey with an almost Clementine type theme. Close your eyes and you can imagine being in a jazz club. Ten minutes in, the Other One theme emerges again. After the first verse, it gets spacey, eventually going atonal with some wild notes from Phil before another spectacular jazz segment commences at 20:00. Over the next fourteen minutes, this amazing music covers a ton of ground, never losing momentum. Several times the Other One theme re-emerges but somehow the band avoids the second verse. Instead Phil and Bobby initiate an amazing Dylanesque passage at 32:00. Garcia's playing becomes highly emotive, the music is both haunting and sublime. It's one of the most amazing pieces of music on the entire tour. As if the theme has reached its zenith, with nowhere left to go, they segue into Bobby McGee, before finally completing the journey into the reprise and second verse conclusion to what might be the finest performance of The Other One on the tour. Amazingly, there is another full hour of music left in the set including fantastic performances of Wharf Rat, Sugar Magnolia and a dynamite show closing NFA> GDTRFB> NFA. (98 pts)

http://www.archive.org/details/gd72-05-10.sbd.kaplan.1582.sbeok.shnf

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Poster: hippie64 Date: May 10, 2010 8:11am
Forum: GratefulDead Subject: Re: TDIH (1972) - 'the cocaine was far too good'

are you giving 98 points for the cocaine or the show ? Having trouble with the first set of this. The sound quality is suburb, almost too good.(every nuance of the sound is present for good or for ill)

Jerry and Keith are trying to find that pocket, but to my ears don't. they bounce around it at times, and nail it other places. I'll hold any further comments because I haven't got to the 2nd set yet, by the description it sounds like I'm in for a ride. I can't wait

These remarks are just my take on it. as I round the corner hear at GSET they are finishing this set with some sweet flurries, Donna's wailing like she stepped on a a nail sticking up through the stage floor. The hysterics of that woman, always surprise me , I know it's coming, just don't know what kind of dose your get it in. Really cool stuff to be able to enjoy these shows in the quality that we do. A lot of people have spent most of their life to make sure that The Grateful dead will part of our lives for many generations to come (barring 2012)

Peace



This post was modified by hippie64 on 2010-05-10 15:11:45

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Poster: Cliff Hucker Date: May 10, 2010 6:12pm
Forum: GratefulDead Subject: Re: TDIH (1972) - 'the cocaine was far too good'

To answer your question, this one gets a high score for the extended second set. The Other One is an exceptional performance, and the bonus second jam sequence is top-notch. Brilliant sound quality is also good for a couple points.

The first sets from the tour are largely interchangable. 98 points is an excellent score, but this performance falls well short of the very best shows of the tour...

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Poster: SomeDarkHollow Date: May 10, 2010 10:32am
Forum: GratefulDead Subject: Re: TDIH (1972) - 'the cocaine was far too good'

"Donna's wailing like she stepped on a nail sticking up through the stage floor"

Outstanding..

Also agree about even though you know it's coming, you are never sure about just how bad it's going to be. Kind of like V.D.

Sorry to the Donna-backers out there.

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Poster: jglynn1.2 Date: May 10, 2010 11:53am
Forum: GratefulDead Subject: Re: TDIH (1972) - 'the cocaine was far too good'

Wooooooooooooooooooooooooo

Hooooooooooooooooooooo

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

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Poster: deadmax Date: May 10, 2010 7:42am
Forum: GratefulDead Subject: Re: TDIH (1972) - 'the cocaine was far too good'

Just my two-cents worth


05-10-72 Concertgebouw, Amsterdam, The Netherlands (Wed)
1: Bertha, Me & My Uncle, Mr. Charlie, China Cat> I Know You Rider, B. T. Wind, Loser, Next Time, El Paso, He's Gone, Chinatown Shuffle, Playin, Big RxR Blues, Jack Straw, Tennessee Jed, Big Boss Man, Greatest, Casey Jones

2: Truckin> Drums> Other One> Bobby McGee> Other One> Wharf Rat, BIODTL, Two Souls, Ramble On, Sing Me Back Home, Sugar Magnolia> NFA> GDTRFB> NFA

"He's Gone" appears on "Europe '72"

This show really takes off with Loser and they are dripping with "IT" the rest of the time in the first set. The second Set starts with a standard Truckin into Drums. The Other One that comes in goes on for 34 minutes and is weird and beautiful and wonderful all at once. The segue into Bobby McGee is one of the best and Bobby McGee ain't no slouch either! The rest of the show is good but not spectacular.

BERTHA is just ok. MAMU same but it is kinda fast like the old days. MR. CHARLIE is meh. CHINA CAT/RIDER has a really nice transition but not much oomph. BT WIND is actually pretty good but it doesn't have that high lonesome sound I like but the song is a good version. LOSER is beautiful. It is still the kind of fast version but it really words here. I think sometime in BT Wind they got posessed by "it" because now they are in it's grip and loving having it here. EL PASO swings down from the rafters shooting and swearing with Jerry adding lots of fills and frills the way he likes to do in this song when he is really playing it. The band really delivers on the intensity that they can bring to this song. This is one of those "perfect" versions. HE'S GONE is one of my favorites, right up there with whichever-one-they-are-playing-now. This of course is "THE" one. The one from the album and it is exquisite. I don't usually like CHINATOWN SHUFFLE but whatever it is that got into their kool-aid fills this song up and makes it a nice stop on the cosmic bus system. Very short but does a great job. PITB seems so innocent at first like you want to dance with it but then it takes off it's mask and becomes a tight, muscular force to be reckoned with. Phil seems like he is stepping on bass notes and Jerry is trying to get him to stop but they just feed off of each other and they all really fill the spaces in this song. At around 7:12 Jerry starts to sound the notes of the reprise but is quickly swept up in the direction the song itself wants to go which they do for awhile but around 9:30 Jerry sounds the notes again but again, we take off in a new direction. At 10:30 they finally go into the first part of the reprise with Donna's wail coming in at 11:20 and we are back again. I'm not sure what just happened but it sure was fun! BIG RR BLUES keeps the clusterfuck going. Of course, this song always signifies that they are feeling "it" and they try to see what they can do with it. They completely rip this song to shreds, beat it with a wooden spoon, then take it out for a sundae and it loves every minute of it. Short but intense. You can tell during JACK STRAW that the music is indeed "playing the band" because of the sounds the band makes during the song that let you know that they are one, they know they are on, we know they are on, and they know that we know that they know they are on. This has got to be ONE-OF-THE-BEST-TENNESSEE JEDS-I-HAVE-HEARD! It is very large and Jerry shows-out with his voice and intonation at times and shows what he can do when he is really feeling this song. They are all one with the musci and "feeling" every thing they are doing. This one has the double wind-up that I like. The punch isn't really there but the intensity is and I really like this version. BIG BOSS MAN doesn't go anywhere but it keeps the flame burning and takes us into an other-worldly GSET. They really play the music for this one and take it to some nice places. CASEY JONES is never my favorite song but it does all right here.

Second set starts with an average TRUCKIN meaning that it is a lot of fun and very well played. They don't don't do a very long outro before they go into drums. This is standard as well but energetic. We very gently go into THE OTHER ONE. No pounding bass and drums but a rather gentlemanly entrance. They do get it going though and get a good bust-a-hump for a few minutes but at 3:45 it all falls breaks up into some real quiet stuff where it seems we are now embarking on an inner journey that gets contemplative at moments and has nice, jazzy overtones that come and go like a silk scarf being tossed around by the wind. Beneath all of this jazzy-ness every once in a while you can hear Jerry (or someone) still hanging on to TOO riff but it too drifts away on the on a bubble that pops in the air. At 11:40 we finally get our first verse. It makes itself known but then we quickly board the spaceship and enter into a "feeling" if you will, of Outer Space, drifting and being alone with our very Soul to see where we came from. Comets bubble by at around 15:20 and continue to percolate for a few minutes then the others join in for some pretty creepy stuff which we are deep into by 18:30. We start to get hints of redemption in here, a little grandeur, but it is stamped out by "the beast" that is trying to eat your soul. At 20:00 Keith swoops in to try to save us with a nice little jazz piano and Billy backs him up on this. It is not really pretty but it does seem as though we are free from the carnage and running in ANY direction for help. Now at 22:00 things quiet back down. Jerry has exorcised whatever was ailing him and we are now simply on a relaxing bus ride through the cosmos, enjoying the nice little reprieve, happy that we have not been torn to shreds. Things stay pretty even but the intensity is trying to build. By 25:30 everyone is in on it and we are definitely hearing what MUST be the 2nd verse coming up but I'm not so sure that is happening now. We are not going there quite yet as Jerry has some stuff to work out before he can get there but at 28:15 it sounds like we might actually start to get there. Phil and Bobby are definitely ready and Billy agrees. Jerry is even playing the right notes but it doesn't go into it, they just play with like a cat playing with a cricket it has found. At 29:50 it falls apart - AGAIN - and we are now on the floor stretching for the final event. It seems as if everything in the Universe is quiet with anticipation waiting for TOO to come back around. We just have Jerry and Bob and a little of Phil now but they are barely playing anything, just plucking the strings a little and strumming hardly. At 32:00 Bob starts to take control away from Jerry who is obviously happy to noodle until eternity ends. We get some spanish stylings sounding, of course , like we might get a Spanish Jam but we know that is not around at this time. Now Jerry starts on some big notes. Bobby has had enough and decides that they MUST play SOMETHING. The transition into BOBBY McGEE is one of the most artistic things I've heard. It is transcendental. They do everything Just-Exactly-Right on this one. Back into THE OTHER ONE for the final verse and an ending to this song but instead we get a transition into WHARF RAT. This is a good version of this but not long-played. Pig pours his heart out yet again and Jerry makes his guitar cry. Seems we are on a break here with BIODTL. Good version but doesn't go anywhere. TWO SOULS is great on this tour and this is not slouch either. Makes for a nice reprieve before we might go back out. RAMBLE ON ROSE is beautiful and well-done and does all the things that song is supposed to do. I would have loved to be at this show. SING ME BACK HOME is stunningly beautiful, a rare gift to be savored. Donna really adds to this with only a modicum of howling. They are really together on this and make this song an event. SUGAR MAGNOLIA starts off like a typical 72 version, very good sounding a little country, a little rock and just plain fun. They take the first instrumental to a very nice place, really listening to each other. SSDD is only 2 min. long and needs to be alot longer than that. They end it way too soon and that's that. You can hear Billy wanting to go into Good Lovin but Jerry is having nothing to do with that. You can hear him start to mess around then Phil joins in in agreement then they all launch into NFA. It's a fairly typical one, fast-paced and very, very good. Jerry does some neat stuff near the end before they go into GDTRFB. It starts of kind of loopy and not real fast, but Jerry growls in the second line. It goes to all the places and is big and in charge but it seems "IT" has left the building. Still a good song tonight though and going back into NFA is, of course, fun.

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Poster: DeadRed1971 Date: May 10, 2010 6:34pm
Forum: GratefulDead Subject: Re: TDIH (1972) - 'the cocaine was far too good'

"This has got to be ONE-OF-THE-BEST-TENNESSEE JEDS-I-HAVE-HEARD! It is very large and Jerry shows-out with his voice and intonation at times and shows what he can do when he is really feeling this song. They are all one with the musci and "feeling" every thing they are doing..."


This is extremely stiff, and Jerry mixes up the stanzas of the verse. Keith is basically uninspiring in his playing.

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